The first signal will be your drier signal. This will make them sound dull and lifeless. Just Using Presets To avoid this, I recommend using automation. Using Only One Compressor. When you compress too hard with fast attack times, the dynamic range of your mix is squashed. How to do it: To use parallel compression, duplicate your signal. If your compressor works too fast, you’ll lose some of that effect. However, you can always opt to perform less compression (or none at all) if you want to preserve an organic quality to the performance. You can also use compressors to shape transients in sounds like drums. Then, you can use a compressor to attenuate just the peaks without making the compressor work too hard. If you do try to achieve dynamic consistency with compression, it’s easy to over-compress the vocals. By making them softer (a process called gain reduction ), it reduces the overall dynamic range – that is, the difference between the loudest and quietest sections of a song. Then mix the dry one in with just a bit of the compressed … If you’d like to know what all the buttons on your compressor do, check out my Complete Guide to Using Compression Correctly in Your Mixes. Another thing you might have noticed is that too much compression tends to kill the air in your mix and make it sound dull, making your ears get tired really quick. Therefore… Equalization. And because you have two signals, go extreme on the second one—lots of compression. I recommend applying compression to less tracks (be selective), as well as applying gentler compression on the tracks you do compress. Compression works by lowering the level of the loudest parts in your mix – the peaks you see sticking out when you view the waveform. Depending on the style of your music, you may want to begin with more aggressive settings for a dense mix and more modest settings for a dynamic mix. If I’ve got a 2 to 1 ratio on the channel for 2 to 1 ratio on the sub group and a 2 to 1 ratio on the main mix I believe that amounts to an 8 to 1 ratio coming out of the front of house speakers is that correct? If I compress a channel and the sub group and the master mix I am actually multiplying the compression of fact instead of adding to it correct? For an aggressive vocal, start with a ratio of 4:1, and gradually bring the threshold control down to engage the compressor. 2. Knowing how all the knobs interact and how to troubleshoot weird sounding compression settings is what makes you a master at compression. You’ll end up with something that sounds like this: A song with no room to breathe; as flat as a pancake. This will sound fuller and more polished, more like the “professional” sound of instruments in the mix. One of your main goals when compressing vocals is to avoid over-compression. 4. 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